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picturesinlove · 6 years

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THE FUTURE IS BRIGHT: a *super* unoriginal ‘best films of 2017′ list

In life, we’re constantly asked what we learnt from things. It’s one way of measuring a completely immeasurable experience. Most films are built on this- ’character arcs’- how do they change and grow? What do they learn? (That’s not a negative thing, just the mechanics of this stick out when it’s done badly). With that in mind, I asked myself, from everything I watched this year, what did I learn?

THE BEST 12 ‘FILMS’ of 2017:

The first thing I learnt- films and TV series have become indistinguishable. It didn’t happen solely this year, but 2017 is definitely the ‘flag in the road’ point. Films are increasingly designed so they can be watched on a small screen with headphones, and most TV should really be watched on a big screen with proper speakers. And TV is sort of the wrong word. Netflix isn’t TV. I don’t know what it is. Just Long Form Storytelling perhaps? It’s certainly becoming less and less episodic. More and more feel like 10 hour films split into 10 parts so you can digest it better. So, this list is really the best 12 *things* of 2017.

The second thing I learnt- how you watch something is almost as important as what you’re watching. What headspace you were in, what time of day it was, if the room was totally dark, if someone a few rows in front of you was talking through the movie, if you’d seen the previous instalments in the series, hell- even if you’d seen the trailer. It all adds to how you think about the film. So, on the list, I’ve included where I saw it.

12. THE DISASTER ARTIST (directed by James Franco)

True story about the making of Tommy Wiseau’s The Room, the best worst film ever made.

I cried like I haven’t cried in years watching this. I don’t know what it was. Just something about the last act hit me so hard I couldn’t contain myself. And when you’re trying to contain yourself BECAUSE THIS IS NOT A SAD FILM AND YOU SHOULD NOT BE CRYING EVERYONE ELSE AROUND YOU IS LAUGHING PLEASE STOP CRYING it’s really hard to stop. It’s a story of ambition, heart and following your dreams no matter what.

Green screen! Lovely green screeeeen! Purely on an aesthetic level, whenever they’re shooting against that unmistakable, vibrant colour I just loved it.

You know when films do that thing and show pictures of the real people the film’s about before the credits so you can go ‘wow this film’s so accurate and got that detail right’?? This does a version of that, and it’s the only one that’s ever mattered/will ever matter.

The real Tommy Wiseau also has my favourite film related tweet of 2017:

Seen at BFI Southbank.

11. ORANGE IS THE NEW BLACK SEASON 5 (created by Jenji Kohan)

The lives of the women at Litchfield Penitentiary, a minimum-security prison in upstate New York. (the annimalllsss the animalllls, TRAP TRAP TRAP till the cage is fulllll...)

This show is about everything the opening titles suggest- women, decisions and time. What’s striking about OITNB is the characters never serve the plot. Plot *is* character. It’s there to serve them. It gives us a framework to waste time with these characters, because ‘all they’ve got is time’.

Season 5 is brave in terms of content and form. There are thousands of people more qualified to speak about the content, so I’ll leave it to them. Form wise: Orange is the New Black is Netflix’s most watched show, and probably it’s major tentpole along with Stranger Things. It has a well-oiled structure. Each season takes place over a few weeks, each episode focusses us in on one character, complete with flashbacks that inform us how they ended up in prison. Season 5 tears that to shreds, setting it basically in real time over 3 days. When it works, it *really* works. There’s no looking away. You feel the grind of what they’re going through. It sometimes leaves them too much time to pad out and we get some boring side plots- but on ambition alone I loved it.

It’s the perfect continuation and accumulation of previous seasons in many ways. The characters you know and love are in extraordinary circumstances. It brings out sides to their personalities that you never knew were there, but fit perfectly. Where all the characters are situated within the prison after the inciting incident is the best use of character geography *as* character I’ve ever seen. Tonally the series has gradually been getting nastier and nastier for a while, but there’s a scene towards the end of this season which is so nasty and so long and REFUSES to cut away even though you desperately, desperately want them too. It’s raw. It hurts. It’s a scene the show has always been heading for tonally and building towards dramatically.

Season 5 slots in just under 4 for me in terms of ranking them all- but it’s still damn good. One things for certain, 5 changed everything for OITNB. The game is different.

Oh, and Nicky’s the MVP.

Netflix.

10. BAD GENIUS (directed by Nattawut Poonpiriya)

Thai Heist-Thriller. A genius high school student makes money after developing elaborate methods to help other students cheat.

WHAT A FUCKING RIDE!! The most fun I’ve had in a cinema all year. More stakes in this than most ‘end of the world’ superhero movies. Genuinely unpredictable.

The filmmaking is so good it makes you forget plausibility is sometimes being pushed. Amazing set-pieces. Expertly choreographed. Form and content perfectly married. This is the best way to tell this story, like a Michael Mann thriller, a Steven Soderbergh Oceans-style heist.

Every character is so rich and textured in their own way. So fully realised. You’ve met them all at some point in your life. It’s whimsical, but painful and genuinely emotional when it needs to be. Never pulls it’s punches.

2 years time, there will almost certainly be an American remake… and it’ll suck so hard. It’s rooted in Thailand, the socio-economic situation of people, the time zones, the pressure to succeed, and honestly- just hearing it in Thai.

SEE THIS FILM. SEE THIS FILM. SEE THIS FILM. SEE THIS FILM. If you take anything from reading any of this, SEE THIS FILM.

Seen at Vue Leicester Square.

9. NATHAN FOR YOU: FINDING FRANCES (directed by Nathan Fielder)

The feature-length finale of Nathan For You’s 4th season. It’s a show that’s difficult to describe without saying ‘trust me’.... but honestly, *trust me*. Nathan Fielder graduated from business school with ‘really good grades’. He offers outlandish solutions to solve problems for struggling small businesses. In Finding Frances, Fielder uses all the resources of his successful show to help an old Bill Gates impressionist track down his high school sweetheart. Trust me.

Nathan Fielder has accidentally and totally on purpose made one of the best documentaries of the last 10 years.

It’s funny how we remember things. Reality and fiction are blurred. Truth is irrelevant. What does real mean? Does it even matter if we remember it how we want to?

Laptop.

8. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (directed by Martin McDonagh)

A mother takes desperate steps to pressure local law enforcement to find her daughter’s killer.

Perfectly woven and layered characters. I fucking hate the phrase ‘the character arc’, but if I were teaching a class in it- I’d show this film.

A film about relationships, and every relationship between every character or creature or inanimate object is perfect.

McDonagh loves theatrical sensibilities. Nobody does grand, rich set-pieces quite like him… makes highly stylised situations feel real in the world he sets up.

I could have watched hours more of these characters interacting.

Seen at Embankment Garden Cinema.

7. BLADE RUNNER 2049 (directed by Denis Villeneuve)

Neo-noir, sci-fi sequel to Ridley Scott’s 1981 classic.

I’m not a fan of the original Blade Runner. I appreciate it! It’s beautiful! and groundbreaking! but I just find it so heartless and cold. I just can’t connect to it. The best sci-fis are amazing stories with really fun furniture (the gadgets, tech etc.) The original is too much furniture for me. In other words, I had no reason to like this one IP wise. 2049 takes everything that could have been interesting from the original and expands on that. The furniture is just that- furniture. An amazing setting that enriches and serves the story. Everything is there to tell the story. I left the cinema feeling I’d experienced something the way that everyone talks about experiencing the first one.

The most expensive art film ever made. I literally cannot believe this exists. I cannot believe they gave Villeneuve £185MILLION to make a 3-hour long, philosophical film that has no blockbuster tropes: no loveable rogue hero; no ‘off-beat’ quippy humour to keep you interested; no CGI extravaganza 3rd act; NO.FUCKING.SKYBEAM with floating garbage spinning around it that threatens to destroy the world and the heroes have to stop it before everyone in the world dies; no setting up 5 other already planned sequels in the franchise so nothing important happens in this one. It’s a rare type of blockbuster in 2017- one that trusts it’s audience is intelligent.

Denis Villeneuve really is the most exciting director working today. This is just further proof. Arrival (2016) still my favourite of his, but I’m almost more in awe of him for this. Taking such a well-loved franchise and doing something new with it in a way that still feels respectful of what’s come before. It’s his film.

The only use of Hollywood’s new trend of digitally recreating actors (ala Peter Cushing in Rogue One: A Star Wars Story) that will ever matter. THIS is how you do it well.

Gender politics (we’re gunna’ go there, SPOILERS AHEAD and I know my opinion doesn’t really matter or count for anything on this just thought it’d be silly not to bring it up, feel free to disagree, v. interested to hear what everyone thinks about this!!) Lots has been written about the treatment of female characters in 2049. Most apt example I can think of to explain how I feel- Taxi Driver (1976), there’s a cafe scene in which the camera lingers on some black characters for uncomfortably long in a kind of parading manner, a ‘look at how terrible these guys are’ manner... it’s very understandable why one could interpret the film itself as racist. I’d argue the film is completely aware of what it’s doing- it’s putting us in Travis Bickle’s eyes, who is a racist character. I mean, we’re literally in his head the whole thing, hearing what he’s thinking and seeing what he’s seeing... I guess what I’m saying is- ‘it’s a decision.’ It’s not an offhand random shot where the filmmaker’s own gaze comes through, it’s a skilfully planned decision to make us question and think about something, in Taxi Driver’s case- what kind of man Bickle is. The treatment of women in 2049 *IS* a decision. It’s not Villeneuve lazily commodifying women, it’s him saying a world where women are only a commodity is a fucking bleak one. It’s a world where real women have been rendered obsolete because the height of success in our society (the CEO of a large corporation), an egoistical white guy with a god-complex manufactures life so women aren’t necessary for continuing the human race, and creates holographic partners for everyday men so they’re emotionally fulfilled without having to engage with actual women. And it’s so horrible. I mean, is anybody happy in this film? Is the picture of the future this film paints bright? It’s a film about how the arrogance of men will destroy everything. And on a base story level, it’s literally about guy who thinks everything is about him... but it turns out to be about a woman. Perhaps it’s lazy for the film to make the decision ‘it’s a patriarchal world so all the women are prostitutes and are treated badly so we’re just gunna’ do that’, but I dunno’... I think there’s more going on. I think Villeneuve is too good for that. I mean his last film was literally about a genius female linguist being the saviour of the world and how a mother’s love is the most precious thing. Would he really do such a U-turn and make a film where the female characters are just objects to be gazed at? I mean- maybe?? If any other aspect of the film felt like it was the studio meddling with Villenueve’s vision I’d buy that... but it’s just SO his film. And I think he’s clever enough to know who the primary audience of this film is- geeky 20 year-old guys. He draws them in with the surface (and all too familiar) images of the female characters, and then turns all of that on it’s head. Just my opinion. Obviously I can never be completely impartial- very happy to be converted the other way.

Seen at Picturehouse Central.

6. CALL ME BY YOUR NAME (directed by Luca Guadagnino)

Somewhere in Northern Italy, Summer 1983, Elio’s life changes.

Sun-drenched Europe, the smell of warmth and twirling cigarette smoke, deep blue sky- pure, breakfast with a glass of apricot juice and an espresso, the sound of bike spokes spinning lazily.

I wish I could live with these people.

‘Later.’

The rawest and best final shot in the last 10 years.

Seen at Odeon Leicester Square.

5. THE BIG SICK (directed by Michael Showalter)

A Pakistani-born standup comedian/Uber driver and a grad student strike up an unlikely relationship.

MAGIC. The perfect retort to use when someone says ‘all rom-coms suck’. A genuine slab of gold that’s as funny as it is heartfelt. And it’s just SO the kind of thing I like.

I’m unbelievably bored of films and just art in general that’s terrified of being sincere in fear of being labelled sappy or over-sentimental. The Big Sick says ‘fuck you’ to that school of thought and goes for it.

Comedy, romance and drama are effortlessly blended- sometimes all in the same scene. And it never feels off-kilter, mainly due to the amazing performances. Kumail Nanjiani, Zoe Kazan, Ray Romano, Holly Hunter and the rest of the cast always play the truth of the scene- not the humour, the romance or the drama, just the TRUTH of the moment.

The perfect antidote to the year 2017 in general.

Seen at Aldeburgh Cinema.

4. YOU WERE NEVER REALLY HERE (directed by Lynne Ramsay)

Gulf War veteran Joe rescues children from trafficking rings.

This is a horror. And more terrifying than any jump scare, this whole film is populated by ghosts.

Deeply troubled, deeply disturbed. Beautiful. Precise. Scatter-brained. Focused. A violin strung too tightly, then played by a madman. How can something so stripped down and raw feel so symphonic and wholesome?

There are things in this that will play on loop in my head for the rest of my life. Images and sounds so seared into my brain they find me at the strangest of moments in a day, and I’m always left thinking about them for the rest of that day. It’s clever like that. Joe can never escape what he’s seen.

Francis Ford Coppola famously told press at the 1979 Cannes premiere of Apocalypse Now - ‘My film is not about Vietnam. It is Vietnam.’

You Were Never Really Here is not about PTSD... it is PTSD.

Seen at Odeon Leicester Square.

3. LOGAN (directed by James Mangold)

Wolverine’s last outing.

I’m not a huge fan of superhero films. Most are fun. Most are also lazy. Few will survive the test of time. Those that will use all the tricks in their genre box and do something interesting with them, transcend- Rami’s Spiderman 2 (2004), Bird’s The Incredibles (2004), Nolan’s The Dark Knight (2008)... and Mangold’s Logan.

So aged. So weary. Everyone is tired. Tired of running, tired of fighting, tired of living. Like three sharp metal claws jaggedly tearing through flesh, nothing is polished about this. Bloodshot eyes, skin like leather. He feels so much regret. Like most real heroes, he mourns those he couldn’t save rather than celebrates those he did. And it’s eaten him up inside for the hundreds of years he’s lived.

Here I go talking about furniture again... but every piece of furniture (superpowers etc.) is there to serve the story (and here the characters are story). Like so many blockbusters and superhero movies fail to do, this film is about something other than the furniture... e.g. how do you tell a story about dementia that gives someone who hasn’t experienced a family member suffering from it *that* feeling of sadness, loss, embarrassment, empathy and frustration? You give it to Charles Xavier (played by Patrick Stewart), a character you’re use to seeing as the leader, who always has a clever plan up his sleeve and has the ability to control other’s minds. You give it to him, and you force everyone watch the person they respected the most have to be lifted into bed while screaming about fast-food. It’s heartbreaking. Complex. It’s actually about something other than how in superhero world teamwork saves the day. Every ‘plot point’ and moment tells us something about these characters, even to a fault sometimes. SUBTLE: Logan pulling them jammed claws the way an old boy down the pub with arthritis feels his fingers. UNSUBTLE BUT STILL INTERESTING: making Logan fight the only thing he’s truly scared of- literally the version of himself that blindly obeys orders.

Everyone is SO fucking real. Just *watch* the way Daphne Keen eats that bowl of cereal.

Would highly recommend watching the ‘Noir’ Black & White version.

mild spoilers: It also features the best single edit of the year, from Laura stabbing the shit out of some dude to a flurry of scattered drum beats in the score... then that piercing animalistic roar rips through and all is silent... she spins.... from this:

CUT to this:

An empty forest, the roar echoes out... a low bass note tolls like a funeral. Something is coming. Help is on the way, but it’s an untamed, ruthless, violent help. He’s near...

No one single cut has ever given me chills like that before.

Seen at Odeon Leicester Square & Picturehouse Central (Noir version)

2. TWIN PEAKS: THE RETURN (directed by David Lynch)

Agent Cooper’s odyssey back to the small town of Twin Peaks. The original series of Twin Peaks that aired in the early 90s is often cited as creating ‘prestige’ television as we know it today- your Game of Thrones’, HBO high-quality, Netflix and so on... 25 years later, David Lynch and Mark Frost have returned to kill it.

Earth-shattering. Groundbreaking. An 18-hour film (split into 16 parts) so layered, so complex i’m not even sure where to begin... and most of what I have to say has probably been written by someone else much more eloquently.

For the first 9 hours, I found The Return mostly frustrating. I love the original series so, so much (and the prequel film Fire Walk With Me is one of my favourite films of all time). When I hit hour 10, it was like all the clouds in my head suddenly cleared. I ‘got’ it. What I thought I wanted was all my favourite characters back again talking about cherry pie and coffee with that soft romantic filter. Lynch and Frost (the creators) knew I wanted that. They also knew I didn’t *really* want that... because, the original series will always exist. They knew nothing would disappoint more than a soft reboot. The Return is it’s own thing- within the universe of Twin Peaks, and... within the actual universe. Seriously, how can you categorise this? It jumps from screwball slapstick comedy to silent black and white existentialist horror to 10 minute live band performances... what is the point of even trying to categorise it?

On some of the individual parts: Part 3 is a low-fi, surrealist, near silent masterpiece. Part 8 is... ‘Pure Heroin Lynch’ and has already changed TV forever. Part 11 is the most satisfying instalment, fulfilling storylines from the original series in a measured and poignant way. Part 17 is the conclusion we wanted, sort of... Part 18 is the start of a new mystery, and one of the most haunting things I’ve ever seen.

Twin Peaks will change you life.

Seen on Laptop.

1. THE FLORIDA PROJECT (directed by Sean Baker)

In the shadow of Disney World, 6 year-old Moonee and her friends spend the summer playing around the Motels they live in, while her mother Halley struggles to find a new job.

Pastel bright colours. Every person has survived a storm. Explore the wasteland of failed corporate America. Become a child again. The endless spinning of helicopter blades, a constant reminder of what they can’t do- escape.

Doesn’t ask you to like the characters. Doesn’t need to. Moonee has seen too much. Halley’s anger at herself and her life bubbles underneath every word and action, but she just doesn’t know how to fix it.

It is *SO* achingly beautiful it hurts. I find it hard to even watch the trailer without crying.

For the problems that face Moonee, honorary queen of The Magic Castle Motel, and the impending darkness that’s sure to come, she has the most powerful gift of all- finding hope where there is none.

‘See, I took you on a safari.’

Seen at Odeon Leicester Square & ICA.

DISCLAIMER- things that are not out yet in the UK/I shamefully haven’t yet seen and would likely be on my list too: Lady Bird (further DISCLAIMER i would actually kill somebody to see this) A Ghost Story Raw Phantom Thread War for the Planet of The Apes Coco American Vandal Mindhunter

BEST SCENES:

The third thing I learnt this year- it’s impossible to talk about a specific scene in a film without spoiling it. So... SPOILERS.

The Stairway Fight - ATOMIC BLONDE (directed by David Leitch)

If someone could tell me what the fuck was going on in Atomic Blonde that’d be great but until then I’ll just marvel at how amazing the fight sequences are. Charlize Theron again puts herself at the centre of the progression of American action cinema following her iconic performance in Mad Max: Fury Road (2015). From the first time we see her, lying in an expensive bath healing her wounds and soothing her bruises, we know at some point we’re going to see how she got them. CUE: The 15 minute stairway fight sequence, made to look like a single continuous shot. Leitch and Chad Stahelski (his frequent collaborator and director of the also brilliant John Wick: Chapter 2) are determined to show general audiences what good action scenes look like. This 15-min beauty harkens back to the almost dance like hospital shootout in Hard Boiled (1992), with the rawness and determination of a Children of Men (2006) tracking shot. Charlize Theron (as MI6 agent Lorraine Broughton) fights her way through swarms of henchmen over several floors of an abandoned block of flats, all the while trying to protect Eddie Marsan (who wouldn’t want to protect Eddie Marsan??) Every punch, kick and throw HURTS. By the end, she and the final henchman are so exhausted there’s a sense they might just call the whole thing off- but something pushes them on. Oh, and there’s a 5 minute car chase all part of the same shot to end. Also features the BEST LINE OF 2017. In retort to the final henchman strangling her desperately whispering ‘Take this, bitch!’, she turns the tables, stabs him up hard, then before delivering the final knockdown, pushes her nose to his and asks- ‘Am I your bitch now?’ She doesn’t wait for a reply.

The Eyeless Woman - TWIN PEAKS: THE RETURN (directed by David Lynch)

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Lynch’s best nightmare.

Train Hysterics - LAST FLAG FLYING (directed by Richard Linklater)

2003. A Vietnam veteran recruits his two oldest buddies, who he served with, to accompany him on a journey no one should ever have to take.

I liked this movie a lot- just missed out on the top 12 list. The standout scene happens little over half way through, the characters sitting in a storage carriage of a train talking about losing their virginities. It’s the best ‘characters uncontrollably laughing’ scene since The Intouchables (2011).

The Snowball epilogue - STRANGER THINGS 2 (directed by The Duffer Brothers)

Stranger Things season 2 was super mixed for me. I enjoyed it a lot. Kind of.

The first series is a perfect little story, with a perfect beginning, middle and end. I god damn *love* it’s characters so, so much. The plot was simple remixed 80s nostalgia beats, but really just a vehicle for you to get to know Mike and Eleven and Nancy etc. Think about how much each and every scene was practically designed to reveal more about who they were. It was so beautiful. Season 2 however had wayyyyy too much plot which was obsessed with itself and how cool it was and as a result left characters with nothing to do. In other words, in Season 1 all the characters had something to do because the plot came from them, in season 2 characters were given plot roles... like, explain to me what Mike did all season before he saw Eleven again at the v end of episode 8?? What did Jonathan’s storyline tell us about him we didn’t already know? Sure, they don’t have to set up who they are all over again, but the best sequels never take for granted we love the characters- they give us new reasons to love them.

It’s clear to see whose storylines had natural progressions from season 1 and they knew where they were going, and those they had to think of something because Netflix desperately wanted another season quickly. The only original characters season 2 really worked for were Steve and Will. ‘Steve The Babysitter’ was the perfect progression for his character- him voluntarily discarding his Alpha-Jock status, seeing it was all bullshit, now his caring side comes out. Fuck, think how much you disliked Steve all of Season 1 compared to how much you love and deeply want him to be ok at the end of season 2. THAT’s good writing. His storyline was perfect for his character, it kept giving us new reasons to love him. And Will. Holy shit. His descent into Reagan-level possession was the most engaging part of season 2. Basically all of the story came from him. And Noah Schnapp is so damn good. I think simplicity is the key. His story was unpredictable till the last moments, when you realise it was inevitable. It has a clear premise, unlike most of season 2.

In the first, there were very clear overarching premises from the start- Will Byers is missing, Eleven has escaped from the Lab, the Demogorgon is on the loose. Simple premises that allow our characters to manoeuvre around... Season 2 doesn’t really have one other than Will is clearly still connected to the Upside Down... the Mind Flayer doesn’t really start as a concept till the penultimate episode... Hopper and Eleven living together maybbe?? but we’re not really given enough time with them. Everyone else is left with nothing to do, or something that doesn’t really serve their character... UNTIL THE LAST 15 MINUTES.

The Snowball epilogue was like coming to the surface after swimming laps underwater- I sort of enjoyed the laps but I’d rather just be able to breath. All the self-indulgent 80s nostalgia *plot* is done, and all the characters have interesting things to do!! Steve giving Dustin tips dropping him off, and then that longing look he gives towards the hall. Dustin realising ‘I don’t look like Steve Harrington’ after being rejected by every girl at the ball and dejectedly crying... and in comes Nancy to save the day!! Genuinely one of the most beautiful moments in anything all year (notice how we learn more about Nancy’s true nature in this one moment that anything else she really did all season??) Jonathan nearby keeping an eye on Will and being his helpful self taking the Ball pictures. Lucas ignoring what the rest of the group think about Max and asking her to dance. Will actually going to the ball, acting as normal as he can and dancing with someone!! Joyce and Hopper nervously wait outside and reminiscently share a smoke as they did in their highschool days- contemplating on how they probably won’t ever feel like they aren’t worried about their kids... and finally Mike and Eleven just having a bit of happiness for once- actually going to the Snowball together, a beautiful conclusion after speaking about it at the end of Season 1.

As each moment passed in this glorious sequence, I loved the characters more and more. They aren’t doing anything supernatural or life threatening, but the stakes feel SO much higher than they had all season. It’s real. They aren’t shackled with ‘advancing the plot’, they can just be themselves. And I loved it.

BEST CINEMATOGRAPHY:

Time’s Arrow, Episode 11, BoJack Horseman Season 4 (created by Raphael Bob-Waksberg)

BoJack Horseman has been the most visually beautiful cartoon for a while now, it’s breathtaking season 3 silent underwater adventure Fish out of Water helped to gain it much appreciated wide applause. Time’s Arrow is a different beast. Genuinely horrifying. A mind cracked into a thousand pieces and glued back together into something resembling crazy paving. The animation is disturbing. Really disturbing. The nightmarish images running through the failing mind of an old woman with dementia. Images of her regrets, the neglect and abuse at the hands of her parents. Memories burn and melt away like plastic in a fire. The faceless humans and constant scribble over Henrietta’s face haunts me. Beyond the obvious sinister imagery, it means something. A puzzle with too many missing pieces to really make out what the picture actually is. And we’ll never really know.

It’s not the first thing that pops into mind when you think of ‘cinematography’, but Time’s Arrow is the best visual storytelling since... the previous season of BoJack Horseman.

BEST PERFORMANCES:

Cate Blanchett as various in MANIFESTO (directed by Julian Rosefeldt)

Originally a critically acclaimed multi-screen video installation in which Cate Blanchett plays 13 different characters, ranging from a school teacher to a homeless man, performing artist’s manifestos in 13 different scenarios. Part of the financing deal was Rosefeldt had to cut a 90 minute, linear version of the piece for a cinematic setting.

NO one could have pulled this off like she did. She’s running on adrenaline and pure bravery. She makes interesting choices at every twist and turn. How does looking at her never get tiresome? Every jump from character to character feels genuine. She blew my mind- I knew I was looking at the same person over and over again, but I also *knew* I was looking at 13 different people.

A masterclass.

Kyle MacLachlan as various in TWIN PEAKS: THE RETURN (directed by David Lynch)

2017 is the year of staggering ‘multi-character’ performances. Kyle MacLachlan’s involvement in the new season of Twin Peaks was basically the only thing anyone knew about it going in. And he is the heart of this season in so many ways. Returning to a character 25 years later must be a daunting prospect, but MacLachlan shows no fear. Not only does he play the pragmatic, joyful Agent Cooper we all know and love, he plays his steely, pure evil doppelganger Mr C, child-like amnesiac Dougie Jones and in the final episode... someone quite special. And he makes it look so damn easy. He is the fabric that holds together The Return.

THE ‘KIDS’ in EVERYTHING

2017 has been a bad year for Hollywood. Ultimately though, it will be looked back on as the turning point. THINGS CHANGE NOW. The old guard is running from their past scared. And they should be scared. Uma Thurman is coming to murder them all. There is no room left for the Harvey Weinstein’s, the rotting core of top-down abuse has been exposed. Brett Ratner can fuck off with his swaggering playboy image and terrible movies.

What is truly uplifting is who is going to replace them. A new generation of pure, true artists that this year has shone a spotlight on.

The future is Brooklynn Prince and Bria Vinaite, stars of The Florida Project. The future is Timothée Chalamet, whose central performance in Call Me By Your Name is the realist, rawest thing ever. The future is Saoirse Ronan, the next Meryl Streep. The future is Daniel Kaluuya, who has finally gained world-wide recognition for his stunning leading performance in Get Out. The future is Finn Wolfhard, Millie Bobby Brown and all of the kids from Stranger Things, who masterfully manage the horrific pressures of being thrust into the tabloid spotlight at the same age most of us just want to cry in our rooms. The future is Sophia Lillis and the rest of the Loser’s Club from IT (a film with the most oppressively terrible sound design ever yet they still manage to make it fun and watchable.) The future is Daphne Keen, the best on-screen cereal-eater who almost steals the film from Hugh Jackman in Logan. The future is Lucas Hedges, someone with rare human fingerprint over every word he speaks in Three Billboards and last year in Manchester By The Sea. The future is Donald Glover, the most creative, multi-talented young artist alive. The future is Caleb Landry Jones, who’s had maybe the most impressive year, with standout supporting roles in The Florida Project, Twin Peaks: The Return, Get Out and Three Billboards Outside Ebbing, Missouri. The future is Tessa Thompson, the best thing about Thor: Ragnarok. The future is Michael B. Jordan, Chadwick Boseman, Lupita Nyong'o, all the team behind the upcoming Black Panther film, helmed by Ryan Coogler. The future is Barry Jenkins, director of best picture winner Moonlight. The future is Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver and Kelly Marie Tran, the new faces of the most popular franchise ever. The future is Alice Lowe, a force to be reckoned with. Writing, directing and starring in a feature film is difficult enough. She did all of that while heavily pregnant. Oh, and it was her debut feature. It’s called Prevenge and it rocks. The future is Ava Duvernay, a beacon of hope- cannot wait for A Wrinkle in Time, which drops early next year. The future is Sean Baker, the most empathetic filmmaker working today. The future is Patty Jenkins and Gal Godot who have revolutionised the superhero film and inspired a generation of little girls with Wonder Woman. The future is Kumail Nanjiani and Zoe Kazan, who I’ll follow in whatever they do after The Big Sick. The Future is Jordan Peele, the most exciting new director. The future is GRETA GERWIG, mumblecore queen turned saviour of cinema.

So, what did I learn this year? Well, Agent Dale Cooper is certainly one of the best characters of all time. But most of all: amongst the darkness of everything that’s happened within the film industry in 2017... there’s hope.

The future is bright.

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cdrforea · 4 years

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Dell XPS 13 (2020) Review: Laptop Endgame

New Post has been published on https://bestedevices.com/dell-xps-13-2020-review-laptop-endgame.html

Dell XPS 13 (2020) Review: Laptop Endgame

"The Dell XPS 13 has been the best laptop you can buy for years, and it will continue to do so in 2020."

Beautiful design

Higher 16:10 screen

Almost frameless frame

Two Thunderbolt 3 ports

Larger keyboard and touchpad

Excellent performance

Two designs have defined the past decade in laptops. The first ten years were all about the MacBook Air, which dominated the first half of the 2010s and inspired a sea of doubles. In the second half, however, everything revolved around the XPS 13 from Dell. A trend that is ubiquitous today began with the original laptop with a thin front panel and a small footprint.

However, after four years of iteration, Dell has invented something new. Something fresh. Something that takes everything I've loved about the design to a new era.

Don't call it a restart. This is the endgame of the laptop.

Design and display

More of what matters. That has always been the motto of the XPS team, but here it is more obvious than ever. It starts with the screen, which is now 13.4 inches in an aspect ratio of 16:10 and a little closer to the square than the traditional 16: 9. It is only 0.1 inches larger than previous versions, but it feels like it more. The 16:10 ratio means extra rows in my Word document, more rows in my spreadsheet, and fewer scrolls on a web page.

This results in black bars on most videos, which are usually formatted for 16: 9. However, for the person who spends most of their time on a laptop in work mode, this is a worthy compromise.

The 16:10 screen is the same one used on the XPS 13 2-in-1, which was already the leader in the class. It offers a brightness of 500 nits, one of the best contrasts I've ever seen, and excellent color accuracy.

It's sharp too. The resolution is 1,920 x 1,200, which means more pixels than on a typical 1080p screen. You will not select any pixels on it. So if you're not an image editor, you shouldn't have to choose the higher-resolution panel. The advantage of the 4K + screen is more than just the number of pixels – it also offers a wider range of colors.

It is not just the panel itself that matters. In this way, the lack of frames frames the screen. The top and sides are as small as ever, but now the lower bezel can join in. Dell uses a unique drop hinge that sits barely under the surface of the keyboard deck. A part of this bezel, which was already small, cannot be seen. It's a little trick to make the bezel look so much thinner. With the white model I tested, I made the decision to change the bezel color to black instead of white. It makes it even less pronounced.

Despite the slim bezel, Dell pushed its 720p camera module up and the nose cam is a thing of the past. It's not a great webcam, but it is enough if necessary. To use the space even better, there is now an IR camera for easy Windows Hello face recognition.

Keyboard and touchpad

When moving from the screen to the keyboard deck, the design continues to follow the philosophy "more of what counts". Not a millimeter of space was left on the keyboard deck.

The look of the keyboard can be inspired by the XPS 13 2-in-1 – if not in terms of feel. The keycaps are larger and each have less space. They now extend to the sides of the keyboard deck.

The power switch (and the integrated fingerprint reader), which used to be on the right next to the layout, is now integrated in the top right, as with MacBooks. Another small change to the layout, which I really appreciate, is the full size arrow keys left and right. Earlier XPS keyboards contained half-sized keys, with the gaps filled up and down. This often resulted in the page being accidentally skipped.

It has quickly become one of my favorite laptop keyboards to type on.

Part of the keyboard that I'm glad Dell didn't redesign it is the actual feel of the key press. Instead of following the path of the butterfly mechanisms (as with the XPS 13 2-in-1), they still have 1 mm of travel and a snappy mechanism. Since we saw that even Apple moved away from its own butterfly keyboards, Dell made the right choice here. It has quickly become one of my favorite laptop keyboards to type on.

The same applies to the touchpad, whose overall size has grown compared to the previous year. Dell has also worked to dampen the click mechanism to make it quieter. I would still prefer it to be softer, but the tracking and gesture support is excellent as always.

Ports and build quality

You will find major changes to the pages if you are familiar with the older XPS 13. Due to the nature of this edge-to-edge keyboard, there is no more space for connections next to it. There are only a few and they are now pressed as close to the back as possible. On the right side there is a Thunderbolt 3 port and the headphone jack. Another Thunderbolt 3 port and a microSD card slot are on the left.

This is a USB-C less than the previous model, which is shit. Dell is now at the Apple level of port selection and fits the MacBook Air in the USB ports. Unlike this device, I would rather have a Thunderbolt 3 port on each side than together. This makes charging easier, regardless of which side the socket is on. The HP Specter x360 swaps the additional Thunderbolt 3 port for USB-A to support older accessories.

Despite the overall stiffer feel of the XPS 13, it's now easier to open.

The sides are now covered with diamond-cut aluminum, which gives the frame a little shine and gives the workmanship overall a more stable feel. A thin layer of polycarbonate fibers covers the wrist-rest with its unique weave structure. Aside from the unibody aluminum design of the MacBook Pro, this model is well built as laptops come.

The extra aluminum adds only the slightest amount of extra weight, which is now 2.8 pounds. This corresponds to the weight of the MacBook Air and the HP Specter x360 13. At 0.58 inches, however, it is somewhat thinner than these two laptops.

Despite the robust feel of the XPS 13, opening is now smoother. What a relief. For years it was one of the few premium laptops that couldn't be opened with just one finger. One-finger opening is now easy, although I wish there was a lip to make it even easier.

performance

It's easy to look at a laptop's processor and call it good. However, the performance offers more than just a data sheet. The XPS 13 makes that clear. Despite using the same parts as other laptops, Dell has consistently worked to improve the performance of its components.

The same tricks play a role here, for example strips of Gore material with which the heat is dissipated. The processor is now upgraded to the latest 10th generation Intel Ice Lake chips.

Dell continues to raise the bar for performance.

That's not all that exciting in 2020, but again, the XPS 13 beats its rivals in terms of single-core performance in Geekbench 5 and Cinebench R20. Even the 16 GB of RAM that was included in my test device was overkill for what most people will do with this laptop. (The Core i7 model I tested costs $ 1,250, but there will also be a Core i3 option starting at $ 999.)

This is one of the most powerful quad core laptops you can buy. At the end of last year, Dell released an XPS 13 with a six-core processor, but this new model is only 7% slower in HandBrake. Impressive.

Yes, Dell continues to set the benchmark for performance. When you upgrade to the 4K + model, you have a premium photo editing laptop. That doesn't mean you should buy this laptop for 3D rendering or video editing, but for most tasks, you won't find a faster laptop of this size.

It should be noted that the $ 999 Core i3 with 4 GB of RAM is also available (although it is not currently for sale). This dual-core processor doesn't have nearly the same performance, although I haven't tested it myself. However, if you only need a laptop to surf the Internet, Microsoft Word and watch movies, the Core i3 is more than sufficient.

Intel's discrete graphics have improved significantly with Ice Lake, allowing the XPS to play 13 games. Type of.

Dell still pulls better frame rates out of these components than its rivals, but that doesn't mean it's a gaming laptop. Fortnite can be played in 1080p if you lower all settings. However, you need to cut it down to 720p to get smoother gameplay. Casual and less demanding games can be played well enough, but the Razer Blade Stealth 13 with an Nvidia GTX 1650 offers better performance.

Battery life

I have high expectations for the battery life of expensive laptops. Somehow the XPS 13 surpassed them. In our test for easy surfing on the Internet, it took over 11.5 hours. Laptops such as the MacBook Air, the Dell XPS 13 2-in-1 and the Surface Pro 7 were destroyed. It doesn't quite beat the best of the best like the HP Specter x360 or ZenBook 13 UX333, but it's not far behind either.

Battery life always depends on what you use it for. At one extreme, the XPS 13 can take up to 14.5 hours to play video locally or 5 hours to do more difficult tasks. Consistent use throughout a working day should not be a problem for the average person.

If you buy the 4K + model, you can expect these results to drop by a few hours. This also makes this 1080p + model the ideal solution for most people.

Our opinion

The Dell XPS 13 is the best laptop you can buy. This has been true for several years and also in 2020. It's not an easy task if you make so many changes to an iconic design. The XPS 13 has slowly become a little more expensive over the years, but if you are that good, premium branding has been earned.

There's a good choice if you want to spend less than $ 1,000. For everyone else, the XPS 13 should be your next PC.

Are there alternatives?

There are some very close competitors to the XPS 13. If you are looking for a laptop with a 360 degree hinge, I recommend the HP Specter x360. It's small and nifty like the XPS and a little cheaper.

Another great option is the new MacBook Air. With quad-core processors and a better keyboard, it has regained the respect of previous Mac generations. However, it probably can't keep up with battery life, and performance still lags somewhat.

The Surface Laptop 3 from Microsoft is another interesting option at an affordable price, a tight thickness and a tight weight. It also offers a larger 3: 2 screen with a higher pixel density as long as you can carry the large frames.

How long it will take?

Thanks to its modern components and robust build quality, the XPS 13 is designed for durability. The standard one-year warranty is nothing special, but this laptop should last at least three or four years.

Should you buy it

Yes. It is the best laptop you can buy.

Editor's recommendations

#Dell #Endgame #Laptop #Review #XPS #Product Reviews

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type2diabetestreatments-blog · 7 years

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Test Driving the New Telcare Meter

New Post has been published on http://type2diabetestreatment.net/diabetes-mellitus/test-driving-the-new-telcare-meter/

Test Driving the New Telcare Meter

Over the last couple of weeks I've had a chance to test drive one of the newest glucose meters to hit the market — the Telcare BGM 3G, the first wirelessly-enabled glucose meter, from the Bethesda-based company of the same name (which we introduced here). Telcare made their debut at the Consumer Electronics Show in January, and was a semi-finalist in the "Last Gadget Standing" competition, alongside some very cool new technologies from mainstream consumer giants Samsung and Sony. Needless to say, I was looking forward to trying out this meter firsthand.

For the most part, new glucose meters work almost the exact same way as old glucose meters. Kind of like insulin pumps. When you get down to it, glucose meters tell you what your blood sugar is, and insulin pumps deliver insulin. It's all the bells and whistles that make one more appealing than another. And I'll admit, the Telcare BGM has quite a few bells and whistles worth writing home about.

Size Matters

Personally, I've been using the same glucose meter, the OneTouch UltraLink, for the past few years because it wirelessly communicates my blood sugar reading to my Medtronic insulin pump (hence the "link"). So it's been awhile since I've tried another glucose meter that wasn't a OneTouch. Upon unboxing the Telcare BGM, the first thing I noticed was the size of the meter. The size issue was first pointed out by Wall Street Journal technology guru Walt Mossberg, in his review in of the Telcare meter, and he was definitely right! It is noticeably bigger and heavier than my UltraLink, and it's substantially larger than other meters I've seen, like the Freestyle. On the plus side, that also means that the screen is quite a bit larger than that of other meters. But the meter case it comes with is also a large, square black bag. So it's both big and unattractive. I also wondered how exactly my male friends would feel about lugging this thing around. Man-purse, anyone?

My Test Drive

The instructions on the meter (printed on one of those sticky films that peel off) says to turn on the meter and wait 5 seconds. Yep, this meter has an on/off switch, although if you leave the meter on between tests, the meter does "go to sleep." Leaving the meter on does drain the battery faster, but you don't have to worry about eating up batteries, as this glucose meter is rechargeable and comes with a plug-in wall unit. Think of all the money you'll save!

Once the meter is awake (or when you've woken it by inserting a test strip), the testing procedure is fairly routine. The strips are no-code and require .8 microliters of blood (less than some strips, but more than some others). But there are a couple of quirks to the Telcare BGM. Plus, the test strip is much longer than other test strips and the test strip slot is not easily viewed at the top of the meter (see comparison picture). The slot can be viewed from the back of the meter, but not from the front.

Jonathan Javitt, CEO of Telcare, explained in an email that the added length of the strip is part of Telcare's autocoding feature.

Tagging Issues

The countdown time to receive your reading is 6 seconds, as opposed to the standard 5 seconds on other contemporary meters. When the result pops up on the screen, the meter immediately prompts you to select a tag. And you have to act quickly! The meter only gives you 30 seconds to make up your mind about whether this is After Lunch or Before Snack, and if you don't select a tag or if you accidentally select the wrong one, there's nothing you can do about it. Like Joanne at Death of a Pancreas, I found this very annoying. You cannot change the tag after you save it or after the meter times out, which is irritating if you're indecisive, are distracted, or have butter fingers like me.

Matt Tendler, VP of Telcare, explained that the tags were designed to be static because the FDA won't allow changes to be made to "clinical data." This would make sense if the meter were setting doses, or even offering suggestions for decision support, like the new Verio IQ meter, but when the patient is the one choosing the tag, shouldn't the patient also be able to change it? I'm not a clinician... I'm just a patient keeping records, right?

Auto-Logging

The big benefit of Telcare is of course their 3G connection to T-Mobile, which is provided for free and allows the meter to send your readings to a server, where it is made viewable using the MyTelcare website or the MyTelcare iPhone or iPad app. This is an incredibly handy feature for someone who doesn't like to log (read: me). Automatic logging? Yes, please! But that's only when the 3G network actually works... On more than one occasion the meter sadly told me I'd have to be patient and wait because the connection to the server wasn't available. Argh! So close, yet so far away. The readings are stored in the meter's memory (up to 300 readings), but you have to remember to sync them to the server once you're connected to the network again. The meter won't do that for you automatically, unless you specifically tell it to.

Using the Website and App

The "personalization of trends" is something I liked about this meter. That is, after a reading is taken, the meter can deliver personal messages (though you can also opt-out), like your average 7-day blood sugar for a particular tag or how your current 7-day blood sugar average compares to the previous 7-day average (so you know if you're trending up or down). Using the MyTelcare website, you can program your target blood sugar comparisons. If you're trying to test more frequently or think you might be slacking off, the meter can let you know how many tests you've completed.

The MyTelcare website and app are handy tools, but their logging choices are fairly basic. The site houses the entire history of blood sugars, an average of meter readings by tag, and an average of meter readings by the hour. It has one logbook, which breaks down readings by tag, not by the hour. So if you have a morning snack and an afternoon snack and label both as "Snack," they are both going to end up in the same column.

The MyTelcare app is actually both pretty and functional. The Statistics option shows today's history, plus 7, 14, 30 and 90-day averages, along with hourly averages, and a colorful pie graph breakdown of low, normal, high and very high blood sugars.

The website and app also allow you to send your logs to your endocrinologist, CDE or primary care physician. And parents, this is ideal for you, as you'll be able to log in to your child's meter's account to see what their last reading was... and when their last reading was!

Desirability Factors

Would I switch to the Telcare BGM meter? It's tempting. I do love the automatic record-keeping, and although it's not as detail-oriented as I would like, it's far better than what I've got right now (which is nothing, since I hate putting the effort into manual logging!)

In terms of lifestyle issues like carrying this thing around, the odd placement of the test strip port, and the need to access the buttons of the side of the meter to tag readings make using some of the more stylish carry pouches inconvenient. That means we'd be stuck with the manufacturer's plain black boxy carry case. Bummer.

Plus, the meter is still brand-new to market and hasn't been picked up by many insurance companies yet. It retails for $150, and the test strips are $56 a per bottle of 50 strips. If you sign up for a one-year contract, the meter is discounted to $100, plus $36 for a bottle of 50 strips. Despite the discount, this certainly adds up if your insurance doesn't kick anything in.

Once the Telcare meter is picked up by more insurancers, I see this being a big hit for families with T1 kids (that auto-logging and remote viewing is bound to be a lifesaver!) and for elderly folks who need a larger, colorful screen. The MyTelcare website and app are nice, although a little light on the features I'd personally want, but the company appears very open to patient feedback to help them upgrade their service.

Overall it's a nice and also innovative glucose meter, but I still feel it needs some work before I'd commit to a long-term switch. Has anyone else given the Telcare a go?

Disclaimer: Content created by the Diabetes Mine team. For more details click here.

Disclaimer

This content is created for Diabetes Mine, a consumer health blog focused on the diabetes community. The content is not medically reviewed and doesn't adhere to Healthline's editorial guidelines. For more information about Healthline's partnership with Diabetes Mine, please click here.

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